A SCHOLARLY BOOK REPOSITORY
1787 scholarly books by University of Arizona Press and 121
1787 scholarly books by University of Arizona Press
121 have author last names that start with G have author last names that start with G
121 have author last names that start with G have author last names that start with G
Indian Assimilation in the Franciscan Area of Nueva Vizcaya
William B. Griffen
University of Arizona Press, 1979
Examines the processes of disappearance during the late 16th and 17th centuries--through assimilation or extermination--of the native Indians encountered by Spaniards in present-day Chihuahua, Mexico.
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Mapping Wonderlands
Illustrated Cartography of Arizona, 1912–1962
Dori Griffin
University of Arizona Press, 2013
Though tourism now plays a recognized role in historical research and regional studies, the study of popular touristic images remains sidelined by chronological histories and objective statistics. Further, Arizona remains underexplored as an early twentieth-century tourism destination when compared with nearby California and New Mexico. With the notable exception of the Grand Canyon, little has been written about tourism in the early days of Arizona’s statehood.
Mapping Wonderlands fills part of this gap in existing regional studies by looking at early popular pictorial maps of Arizona. These cartographic representations of the state utilize formal mapmaking conventions to create a place-based state history. They introduce illustrations, unique naming conventions, and written narratives to create carefully visualized landscapes that emphasize the touristic aspects of Arizona.
Analyzing the visual culture of tourism in illuminating detail, this book documents how Arizona came to be identified as an appealing tourism destination. Providing a historically situated analysis, Dori Griffin draws on samples from a comprehensive collection of materials generated to promote tourism during Arizona’s first half-century of statehood. She investigates the relationship between natural and constructed landscapes, visual culture, and narratives of place. Featuring sixty-six examples of these aesthetically appealing maps, the book details how such maps offered tourists and other users a cohesive and storied image of the state. Using historical documentation and rhetorical analysis, this book combines visual design and historical narrative to reveal how early-twentieth-century mapmakers and map users collaborated to imagine Arizona as a tourist’s paradise.
Mapping Wonderlands fills part of this gap in existing regional studies by looking at early popular pictorial maps of Arizona. These cartographic representations of the state utilize formal mapmaking conventions to create a place-based state history. They introduce illustrations, unique naming conventions, and written narratives to create carefully visualized landscapes that emphasize the touristic aspects of Arizona.
Analyzing the visual culture of tourism in illuminating detail, this book documents how Arizona came to be identified as an appealing tourism destination. Providing a historically situated analysis, Dori Griffin draws on samples from a comprehensive collection of materials generated to promote tourism during Arizona’s first half-century of statehood. She investigates the relationship between natural and constructed landscapes, visual culture, and narratives of place. Featuring sixty-six examples of these aesthetically appealing maps, the book details how such maps offered tourists and other users a cohesive and storied image of the state. Using historical documentation and rhetorical analysis, this book combines visual design and historical narrative to reveal how early-twentieth-century mapmakers and map users collaborated to imagine Arizona as a tourist’s paradise.
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Beliefs and Holy Places
A Spiritual Geography of the Pimería Alta
James S. Griffith
University of Arizona Press, 1992
The region once known as Pimería Alta—now southern Arizona and northern Sonora—has for more than three centuries been a melting pot for the beliefs of native Tohono O'odham and immigrant Yaquis and those of colonizing Spaniards and Mexicans. One need look no further than the roadside crosses along desert highways or the diversity of local celebrations to sense the richness of this cultural commingling.
Folklorist Jim Griffith has lived in the Pimería Alta for more than thirty years, visiting its holy places and attending its fiestas, and has uncovered a background of belief, tradition, and history lying beneath the surface of these cultural expressions. In Beliefs and Holy Places, he reveals some of the supernaturally sanctioned relationships that tie people to places within that region, describing the cultural and religious meanings of locations and showing how bonds between people and places have in turn created relationships between places, a spiritual geography undetectable on physical maps.
Throughout the book, Griffith shows how culture moves from legend to art to belief to practice, all the while serving as a dynamic link between past and future. Now as the desert gives way to newcomers, Griffith's book offers visitors and residents alike a rare opportunity to share in these rich traditions.
Folklorist Jim Griffith has lived in the Pimería Alta for more than thirty years, visiting its holy places and attending its fiestas, and has uncovered a background of belief, tradition, and history lying beneath the surface of these cultural expressions. In Beliefs and Holy Places, he reveals some of the supernaturally sanctioned relationships that tie people to places within that region, describing the cultural and religious meanings of locations and showing how bonds between people and places have in turn created relationships between places, a spiritual geography undetectable on physical maps.
Throughout the book, Griffith shows how culture moves from legend to art to belief to practice, all the while serving as a dynamic link between past and future. Now as the desert gives way to newcomers, Griffith's book offers visitors and residents alike a rare opportunity to share in these rich traditions.
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Saints, Statues, and Stories
A Folklorist Looks at the Religious Art of Sonora
James S. Griffith
University of Arizona Press, 2019
. . . we move to the town of Aconchi on the Río Sonora, where the mission church once contained a life-sized crucifix with a black corpus, known both as Nuestro Señor de Esquipulas . . . and El Cristo Negro de Aconchi . . .
So describes well-known and beloved folklorist James S. Griffith as he takes us back through the decades to a town in northern Sonora where a statue is saved—and in so doing, a community is saved as well.
In Saints, Statues, and Stories Griffith shares stories of nearly sixty years of traveling through Sonora. As we have come to expect through these journeys, “Big Jim”—as he is affectionately known by many—offers nothing less than the living traditions of Catholic communities. Themes of saints as agents of protection or community action are common throughout Sonora: a saint coming out of the church to protect the village, a statue having a say in where it resides and paying social calls to other communities, or a beloved image rescued from destruction and then revered on a private altar. A patron saint saves a village from outside attackers in one story—a story that has at least ten parallels in Sonora’s former mission communities. Details may vary, but the general narrative remains the same: when hostile nonbelievers attack the village, the patron saint of the church foils them.
Griffith uncovers the meanings behind the devotional uses of religious art from a variety of perspectives—from artist to audience, preservationist to community member. The religious artworks transcend art objects, Griffith believes, and function as ways of communicating between this world and the next. Setting the stage with a brief geography, Griffith introduces us to roadside shrines, artists, fiestas, saints, and miracles. Full-color images add to the pleasure of this delightful journey through the churches and towns of Sonora.
So describes well-known and beloved folklorist James S. Griffith as he takes us back through the decades to a town in northern Sonora where a statue is saved—and in so doing, a community is saved as well.
In Saints, Statues, and Stories Griffith shares stories of nearly sixty years of traveling through Sonora. As we have come to expect through these journeys, “Big Jim”—as he is affectionately known by many—offers nothing less than the living traditions of Catholic communities. Themes of saints as agents of protection or community action are common throughout Sonora: a saint coming out of the church to protect the village, a statue having a say in where it resides and paying social calls to other communities, or a beloved image rescued from destruction and then revered on a private altar. A patron saint saves a village from outside attackers in one story—a story that has at least ten parallels in Sonora’s former mission communities. Details may vary, but the general narrative remains the same: when hostile nonbelievers attack the village, the patron saint of the church foils them.
Griffith uncovers the meanings behind the devotional uses of religious art from a variety of perspectives—from artist to audience, preservationist to community member. The religious artworks transcend art objects, Griffith believes, and function as ways of communicating between this world and the next. Setting the stage with a brief geography, Griffith introduces us to roadside shrines, artists, fiestas, saints, and miracles. Full-color images add to the pleasure of this delightful journey through the churches and towns of Sonora.
[more]
Hecho a Mano
The Traditional Arts of Tucson's Mexican American Community
James S. Griffith
University of Arizona Press, 2000
Arts as intimate as a piece of needlework or a home altar. Arts as visible as decorative iron, murals, and low riders. Through such arts, members of Tucson's Mexican American community contribute much of the cultural flavor that defines the city to its residents and to the outside world. Now Tucson folklorist Jim Griffith celebrates these public and private artistic expressions and invites us to meet the people who create them.
- Josefina Lizárraga learned to make paper flowers as a girl in her native state of Nayarit, Mexico, and ensures that this delicate art is not lost.
- Ornamental blacksmith William Flores runs the oldest blacksmithing business in town, a living link with an earlier Tucson.
- Ramona Franco's family has maintained an elaborate altar to Our Lady of Guadalupe for three generations.
- Signmaker Paul Lira, responsible for many of Tucson's most interesting signs, brings to his work a thoroughly mexicano sense of aesthetics and humor.
- Muralists David Tineo and Luis Mena proclaim Mexican cultural identity in their work and carry on a tradition that has blossomed in the last twenty years.
Featuring a foreword by Tucson author Patricia Preciado Martin and a spectacular gallery of photographs, many by Pulitzer prize-winning photographer José Galvez, this remarkable book offers a close-up view of a community rich with tradition and diverse artistic expression. Hecho a Mano is a piñata bursting with unexpected treasures that will inspire and inform anyone with an interest in folk art or Mexican American culture.
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Crossing Borders
Changing Social Identities in Southern Mexico
Kimberly M. Grimes
University of Arizona Press, 1998
"Defining borders is a complex task, especially today as globalization accelerates at an unprecedented rate. We have entered a transnational age, one in which borders are more porous." So says Kimberly M. Grimes in Crossing Borders: Changing Social Identities in Southern Mexico, her investigation of migration to the United States from Putla de Guerrero, Oaxaca. Featuring testimonies of residents and migrants, Grimes allows local voices to describe the ways in which Putlecans find themselves negotiating among competing social values. The testaments of the Putlecans indicate that the changes occurring in their small town as a result of the circular migration to and from such immigrant enclaves as Atlantic City, New Jersey, are viewed with mixed emotions. Putlecans recognize the financial need to migrate north but they rue the increased consumerism, pollution, and trash that comes with the rising wealth. Men show off by driving their fancy cars with New Jersey tags around the tiny Mexican town, but influenced by Anglo culture, they also provide greater assistance in child care and housework. Women find the sexual and social freedoms of the United States liberating, but they still return home to baptize their babies. Grimes reminds us, however, that the Putlecans are not passive recipients of change but are actively embracing it, creating it, and mediating it. By reaching across the border to investigate migration, Grimes shows us that social and cultural change are not just the result of national and transnational influences, but are also locally negotiated phenomena.
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Artisans and Cooperatives
Developing Alternative Trade for the Global Economy
Kimberly M. Grimes
University of Arizona Press, 2000
With new markets opening up for goods produced by artisans from all parts of the world, craft commercialization and craft industries have become key components of local economies. Now with the emergence of the Fair Trade movement and public opposition to sweatshop labor, many people are demanding that artisans in third world countries not be exploited for their labor.
Bringing together case studies from the Americas and Asia, this timely collection of articles addresses the interplay among subsistence activities, craft production, and the global market. It contributes to current debates on economic inequality by offering practical examples of the political, economic, and cultural issues surrounding artisan production as an expressive vehicle of ethnic and gender identity.
Striking a balance between economic and ethnographic analyses, the contributors observe what has worked and what hasn't in a range of craft cooperatives and show how some artisans have expanded their entrepreneurial role by marketing crafts in addition to producing them. Among the topics discussed are the accommodation of craft traditions in the global market, fair trade issues, and the emerging role of the anthropologist as a proactive agent for artisan groups.
As the gap between rich and poor widens, the fate of subsistence economies seems more and more uncertain. The artisans in this book show that people can and do employ innovative opportunities to develop their talents, and in the process strengthen their ethnic identities.
ContentsIntroduction: Facing the Challenges of Artisan Production in the Global Market / Kimberly M. Grimes and B. Lynne Milgram
Democratizing International Production and Trade: North American Alternative Trading Organizations / Kimberly M. Grimes
Building on Local Strengths: Nepalese Fair Trade Textiles / Rachel MacHenry
"That They Be in the Middle, Lord": Women, Weaving, and Cultural Survival in Highland Chiapas, Mexico / Christine E. Eber
The International Craft Market: A Double-Edged Sword for Guatemalan Maya Women / Martha Lynd
Of Women, Hope, and Angels: Fair Trade and Artisan Production in a Squatter Settlement in Guatemala City / Brenda Rosenbaum
Reorganizing Textile Production for the Global Market: Women’s Craft Cooperatives in Ifugao, Upland Philippines / B. Lynne Milgram
Textile Production in Rural Oaxaca, Mexico, and the Complexities of the Global Market for Handmade Crafts / Jeffrey H. Cohen
"Part-Time for Pin Money": The Legacy of Navajo Women’s Craft Production / Kathy M’Closkey
The Hard Sell: Anthropologists as Brokers of Crafts in the Global Marketplace / Andrew Causey
Postscript: To Market, To Market / June Nash
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Chicano San Diego
Cultural Space and the Struggle for Justice
Richard Griswold del Castillo
University of Arizona Press, 2008
The Mexican and Chicana/o residents of San Diego have a long, complicated, and rich history that has been largely ignored. This collection of essays shows how the Spanish-speaking people of this border city have created their own cultural spaces. Sensitive to issues of gender—and paying special attention to political, economic, and cultural figures and events—the contributors explore what is unique about San Diego’s Mexican American history.
In chronologically ordered chapters, scholars discuss how Mexican and Chicana/o people have resisted and accommodated the increasingly Anglo-oriented culture of the region. The book’s early chapters recount the historical origins of San Diego and its development through the mid-nineteenth century, describe the “American colonization” that followed, and include examples of Latino resistance that span the twentieth century—from early workers’ strikes to the United Farm Workers movement of the 1960s. Later chapters trace the Chicana/o Movement in the community and in the arts; the struggle against the gentrification of the barrio; and the growth of community organizing (especially around immigrants’ rights) from the perspective of a community organizer.
To tell this sweeping story, the contributors use a variety of approaches. Testimonios retell individual lives, ethnographies relate the stories of communities, and historical narratives uncover what has previously been ignored or discounted. The result is a unique portrait of a marginalized population that has played an important but neglected role in the development of a major American border city.
In chronologically ordered chapters, scholars discuss how Mexican and Chicana/o people have resisted and accommodated the increasingly Anglo-oriented culture of the region. The book’s early chapters recount the historical origins of San Diego and its development through the mid-nineteenth century, describe the “American colonization” that followed, and include examples of Latino resistance that span the twentieth century—from early workers’ strikes to the United Farm Workers movement of the 1960s. Later chapters trace the Chicana/o Movement in the community and in the arts; the struggle against the gentrification of the barrio; and the growth of community organizing (especially around immigrants’ rights) from the perspective of a community organizer.
To tell this sweeping story, the contributors use a variety of approaches. Testimonios retell individual lives, ethnographies relate the stories of communities, and historical narratives uncover what has previously been ignored or discounted. The result is a unique portrait of a marginalized population that has played an important but neglected role in the development of a major American border city.
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The Glen Canyon Reader
Mathew Barrett Gross
University of Arizona Press, 2003
Stretching for 170 miles across northern Arizona and southern Utah, Lake Powell is both a vacationer's paradise and the second-largest reservoir in the Western Hemisphere. Yet few visitors to the lake today are aware of the lost world that lies beneath its crystal waters. Once an enchanted landscape of sandstone cliffs and secret crevices, Glen Canyon has been but a memory since the damming of the Colorado River near Page, Arizona, in 1963. Often called "the place no one knew," Glen Canyon was in fact explored by thousands of visitors—including dozens of writers—before the dam's completion. River runner Mathew Gross has combed the literature of Glen Canyon to assemble this wide-ranging look at the history of this now-submerged natural treasure, the first book to bring together these voices of remembrance. Beginning with the first known written report of Glen Canyon in an eighteenth-century missionary journal, Gross has selected accounts of the canyon from both before and after the dam. Included are some of the West's best-known writers—Zane Grey and Katie Lee, Edward Abbey and Ellen Meloy—as well as Pulitzer Prize winners John McPhee and Wallace Stegner. Other authors range from David Brower, director of the Sierra Club when the dam was built, to Floyd Dominy, the federal bureaucrat responsible for the dam. The Glen Canyon Reader is a book that may be read straight through as entertaining and informative history. But as Gross suggests, "Perhaps more pleasurable is to flip through these pages, to poke around and explore, as one would have done in Glen Canyon . . . to visit and revisit the places contained in this book, these cool glens and embracing alcoves and hidden grottos, these canyons and dreams and ghosts that will always, always be with us."
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Cenizas
Poems
Cynthia Guardado
University of Arizona Press, 2022
Cenizas offers an arresting portrait of a Salvadoran family whose lives have been shaped by the upheavals of global politics. The speaker of these poems—the daughter of Salvadoran immigrants—questions the meaning of homeland as she navigates life in the United States while remaining tethered to El Salvador by the long shadows cast by personal and public history. Cynthia Guardado’s poems give voice to the grief of family trauma, while capturing moments of beauty and tenderness. Maternal figures preside over the verses, guiding the speaker as she searches the ashes of history to tell her family’s story. The spare, narrative style of the poems are filled with depth as the family’s layers come to light.
Guardado crafted the poems in Cenizas over a ten-year period, often traveling to El Salvador for research and to conduct interviews. The Salvadoran Civil War haunts the pages of this collection as it unflinchingly explores war, its aftermath, and the bittersweet legacies that are passed down from one generation to the next. The poems mourn those who were lost and honor the strength of the speaker’s ancestors. “All my people have been born from the ashes of volcanoes,” she writes, invoking a family lineage that has endured the atrocities committed against them. Even so, El Salvador keeps pulling the speaker back—and despite warnings of danger, she still manages to find beauty among the ruins.
Guardado crafted the poems in Cenizas over a ten-year period, often traveling to El Salvador for research and to conduct interviews. The Salvadoran Civil War haunts the pages of this collection as it unflinchingly explores war, its aftermath, and the bittersweet legacies that are passed down from one generation to the next. The poems mourn those who were lost and honor the strength of the speaker’s ancestors. “All my people have been born from the ashes of volcanoes,” she writes, invoking a family lineage that has endured the atrocities committed against them. Even so, El Salvador keeps pulling the speaker back—and despite warnings of danger, she still manages to find beauty among the ruins.
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Construction of Maya Space
Causeways, Walls, and Open Areas from Ancient to Modern Times
Thomas H. Guderjan
University of Arizona Press, 2023
Construction of Maya Spaces sheds new light on how Maya society may have shaped—and been shaped by—the constructed environment. Moving beyond the towering pyramids and temples often associated with Maya spaces, this volume focuses on how those in power used features such as walls, roads, rails, and symbolic boundaries to control those without power, and how the powerless pushed back.
Through fifteen engaging chapters, contributors examine the construction of spatial features by ancient, historic, and contemporary Maya elite and nonelite peoples to understand how they used spaces differently. Through cutting-edge methodologies and case studies, chapters consider how and why Maya people connected and divided the spaces they used daily in their homes, in their public centers, in their sacred places such as caves, and across their regions to inform us about the mental constructs they used to create their lives and cultures of the past.
Contributors
Elias Alcocer Puerto
Alejandra Alonso Olvera
Traci Ardren
Jaime J. Awe
Alejandra Badillo Sánchez
Nicolas C. Barth
Grace Lloyd Bascopé
Adolpho Iván Batún-Alpuche
Elizabeth Beckner
M. Kathryn Brown
Bernadette Cap
Miguel Covarrubias Reyna
Juan Fernandez Diaz
Alberto G. Flores Colin
Thomas H. Guderjan
C. Colleen Hanratty
Héctor Hernández Álvarez
Scott R. Hutson
Joshua J. Kwoka
Whitney Lytle
Aline Magnoni
Jennifer P. Mathews
Stephanie J. Miller
Shawn G. Morton
Holley Moyes
Shannon Plank
Dominique Rissolo
Patrick Rohrer
Carmen Rojas Sandoval
Justine M. Shaw
J. Gregory Smith
Travis W. Stanton
Karl A. Taube
Daniel Vallejo-Cáliz
Through fifteen engaging chapters, contributors examine the construction of spatial features by ancient, historic, and contemporary Maya elite and nonelite peoples to understand how they used spaces differently. Through cutting-edge methodologies and case studies, chapters consider how and why Maya people connected and divided the spaces they used daily in their homes, in their public centers, in their sacred places such as caves, and across their regions to inform us about the mental constructs they used to create their lives and cultures of the past.
Contributors
Elias Alcocer Puerto
Alejandra Alonso Olvera
Traci Ardren
Jaime J. Awe
Alejandra Badillo Sánchez
Nicolas C. Barth
Grace Lloyd Bascopé
Adolpho Iván Batún-Alpuche
Elizabeth Beckner
M. Kathryn Brown
Bernadette Cap
Miguel Covarrubias Reyna
Juan Fernandez Diaz
Alberto G. Flores Colin
Thomas H. Guderjan
C. Colleen Hanratty
Héctor Hernández Álvarez
Scott R. Hutson
Joshua J. Kwoka
Whitney Lytle
Aline Magnoni
Jennifer P. Mathews
Stephanie J. Miller
Shawn G. Morton
Holley Moyes
Shannon Plank
Dominique Rissolo
Patrick Rohrer
Carmen Rojas Sandoval
Justine M. Shaw
J. Gregory Smith
Travis W. Stanton
Karl A. Taube
Daniel Vallejo-Cáliz
[more]
Lalo
My Life and Music
Lalo Guerrero
University of Arizona Press, 2002
He has been called "the father of Chicano music" and "the original Chicano hepcat." A modest man in awe of his own celebrity, he has sung of the joys and sorrows, dreams and frustrations of the Mexican American community over a sixty-year career. Lalo Guerrero is an American original, and his music jubilantly reflects the history of Chicano popular culture and music.
Lalo's autobiography takes readers on a musical rollercoaster, from his earliest enjoyment of Latino and black sounds in Tucson to his burgeoning career in Los Angeles singing with Los Carlistas, the quartet with which he began his recording career in 1938. During the fifties and sixties his music dominated the Latin American charts in both North and South America, and his song "Canción Mexicana" has become the unofficial anthem of Mexico. Through the years, Lalo mastered boleros, rancheras, salsas, mambos, cha-chas, and swing; he performed protest songs, children's music, and corridos that told of his people's struggles. Riding the crest of changing styles, he wrote pachuco boogies in one period and penned clever Spanish parodies of American hit songs in another. For all of these contributions to American music, Lalo was awarded a National Medal of the Arts from President Clinton.
Lalo's story is also the story of his times. We meet his family and earliest musical associates—including his long relationship with Manuel Acuña, who first got Lalo into the recording studio—and the many performers he counted as friends, from Frank Sinatra to Los Lobos. We relive the spirit of the nightclubs where he was a headliner and the one-night stands he performed all over the Southwest. We also discover what life was like in old Tucson and in mid-century L.A. as seen through the eyes of this uniquely creative artist. "In 1958," Guerrero recalls, "I wrote a song about a Martian who came to Earth to clear up certain misunderstandings about Mars. Now I have decided that it is time to set some things straight about Lalo Guerrero." Lalo does just that, in an often funny, sometimes sentimental story that traces the musical genius of a man whose talent has taken him all over the world, but who still believes in giving back to the community. His story is a gift to that community.
The book also features a detailed discography, compiled by Lalo's son Mark, tracing his recorded output from the days of 78s to his most recent CDs.
Lalo's autobiography takes readers on a musical rollercoaster, from his earliest enjoyment of Latino and black sounds in Tucson to his burgeoning career in Los Angeles singing with Los Carlistas, the quartet with which he began his recording career in 1938. During the fifties and sixties his music dominated the Latin American charts in both North and South America, and his song "Canción Mexicana" has become the unofficial anthem of Mexico. Through the years, Lalo mastered boleros, rancheras, salsas, mambos, cha-chas, and swing; he performed protest songs, children's music, and corridos that told of his people's struggles. Riding the crest of changing styles, he wrote pachuco boogies in one period and penned clever Spanish parodies of American hit songs in another. For all of these contributions to American music, Lalo was awarded a National Medal of the Arts from President Clinton.
Lalo's story is also the story of his times. We meet his family and earliest musical associates—including his long relationship with Manuel Acuña, who first got Lalo into the recording studio—and the many performers he counted as friends, from Frank Sinatra to Los Lobos. We relive the spirit of the nightclubs where he was a headliner and the one-night stands he performed all over the Southwest. We also discover what life was like in old Tucson and in mid-century L.A. as seen through the eyes of this uniquely creative artist. "In 1958," Guerrero recalls, "I wrote a song about a Martian who came to Earth to clear up certain misunderstandings about Mars. Now I have decided that it is time to set some things straight about Lalo Guerrero." Lalo does just that, in an often funny, sometimes sentimental story that traces the musical genius of a man whose talent has taken him all over the world, but who still believes in giving back to the community. His story is a gift to that community.
The book also features a detailed discography, compiled by Lalo's son Mark, tracing his recorded output from the days of 78s to his most recent CDs.
[more]
A View From Black Mesa
The Changing Face of Archaeology
George J. Gumerman
University of Arizona Press, 1984
Finally! A modern book in the field of Southwestern archaeology that can be read, understood and enjoyed by everyone. —Books of the Southwest
"In clear and nontechnical language it provides readers with a synopsis of Anasazi prehistory and cultural ecology. ...Gumerman's work is especially useful for anyone seeking an `on-site' introduction to some of the basic techniques and research orientations of modern American archaeology. Highly recommended for students and general readers." —Choice
"It should be read with thoughtful care by the `professional' archaeologist and ethnographer. And it will even more effectively serve the informed general reader, unconcerned with academic minutiae, through its fresh and direct exposition of the procedures, frustrations, and rewards of the calling." —The Kiva
"An outstanding success....a readable book that is suitable for professional archaeologists and the general public as well." —North American Archaeologist
"A readable book that is suitable for professional archaeologists and the general public." —North American Archaeologist
"In clear and nontechnical language it provides readers with a synopsis of Anasazi prehistory and cultural ecology. ...Gumerman's work is especially useful for anyone seeking an `on-site' introduction to some of the basic techniques and research orientations of modern American archaeology. Highly recommended for students and general readers." —Choice
"It should be read with thoughtful care by the `professional' archaeologist and ethnographer. And it will even more effectively serve the informed general reader, unconcerned with academic minutiae, through its fresh and direct exposition of the procedures, frustrations, and rewards of the calling." —The Kiva
"An outstanding success....a readable book that is suitable for professional archaeologists and the general public as well." —North American Archaeologist
"A readable book that is suitable for professional archaeologists and the general public." —North American Archaeologist
[more]
Sugarcane and Rum
The Bittersweet History of Labor and Life on the Yucatán Peninsula
John Robert Gust
University of Arizona Press, 2020
While the Yucatán Peninsula of Mexico may conjure up images of vacation getaways and cocktails by the sea, these easy stereotypes hide a story filled with sweat and toil. The story of sugarcane and rum production in the Caribbean has been told many times. But few know the bittersweet story of sugar and rum in the jungles of the Yucatán Peninsula during the nineteenth century. This is much more than a history of coveted commodities. The unique story that unfolds in John R. Gust and Jennifer P. Mathews’s new history Sugarcane and Rum is told through the lens of Maya laborers who worked under brutal conditions on small haciendas to harvest sugarcane and produce rum.
Gust and Mathews weave together ethnographic interviews and historical archives with archaeological evidence to bring the daily lives of Maya workers into focus. They lived in a cycle of debt, forced to buy all of their supplies from the company store and take loans from the hacienda owners. And yet they had a certain autonomy because the owners were so dependent on their labor at harvest time. We also see how the rise of cantinas and distilled alcohol in the nineteenth century affected traditional Maya culture and that the economies of Cancún and the Mérida area are predicated on the rum-influenced local social systems of the past. Sugarcane and Rum brings this bittersweet story to the present and explains how rum continues to impact the Yucatán and the people who have lived there for millennia.
[more]
John Spring's Arizona
A. M. Gustafson
University of Arizona Press, 1966
John Spring, a Swiss volunteer wounded in Civil War action, was sent to Arizona with the Regular Army of 1866 and became the most versatile and articulate of frontier reporters. A fine education and a broad knowledge of the world combined with an urbane pen to enable this pioneer educator, desert farmer, sutler, and brewer to be also a court translator, a correspondent for metropolitan U.S. newspapers and European periodicals, and a hardy soldier amid Apache perils.
John Spring first saw Arizona from an encampment on the west side of the Colorado River at "a small town called Yuma . . . then called Arizona City . . . it did a thriving fandango and saloon business during the period of continual going and coming of troops and teamsters." Southern Arizona, as Spring first saw and described it, was "a country where every highway, every path, every hamlet, and nearly every rancho could tell (had they the gift of speech) of devilish deeds, of crafty ambuscade, murdered settlers and travellers."
Supported by knowledge of several languages and wide reading, John Spring was able to extend his reporting to geographical and botanical description, to detailed reports of agriculture in the Santa Cruz Valley, and mercantile activity in Tucson. But he returned always to people--an irresistible center of interest for John Spring.
The lively and authentic serial reports of John Spring to the National Tribune in Washington, D.C., have been assembled and edited in this volume by A. M. Gustafson.
John Spring first saw Arizona from an encampment on the west side of the Colorado River at "a small town called Yuma . . . then called Arizona City . . . it did a thriving fandango and saloon business during the period of continual going and coming of troops and teamsters." Southern Arizona, as Spring first saw and described it, was "a country where every highway, every path, every hamlet, and nearly every rancho could tell (had they the gift of speech) of devilish deeds, of crafty ambuscade, murdered settlers and travellers."
Supported by knowledge of several languages and wide reading, John Spring was able to extend his reporting to geographical and botanical description, to detailed reports of agriculture in the Santa Cruz Valley, and mercantile activity in Tucson. But he returned always to people--an irresistible center of interest for John Spring.
The lively and authentic serial reports of John Spring to the National Tribune in Washington, D.C., have been assembled and edited in this volume by A. M. Gustafson.
[more]
Rebozos de Palabras
An Helena María Viramontes Critical Reader
Gabriella Gutiérrez y Muhs
University of Arizona Press, 2013
Helena María Viramontes is a professor, scholar-activist, and renowned author of works of fiction and nonfiction. Her work has been anthologized and is read widely in the United States and abroad. For many of her readings and speaking engagements she arrives wearing a rebozo, a shawl worn by Mexican and Chicana women living on both sides of the US–Mexico border. Once, when asked about her rebozo, Viramontes explained that the pre-Columbian icon is her “security blanket,” which she embraces in order to find comfort. For her readers, her writing functions like a "rebozo de palabras,” a shawl woven with words that nurture.
As Gabriella Gutiérrez y Muhs points out in her insightful introduction, not only has Viramontes’s work not yet received the broad critical engagement it richly deserves, but there remains a monumental gap in the interpretations of Chicana literature that reach mainstream audiences. Rebozos de Palabras addresses this void by focusing on how the Chicana image has evolved through Viramontes’s body of work. With a foreword by Sonia Saldívar-Hull, this collection addresses Viramontes entire oeuvre through newly produced articles by major literary critics and emerging scholars who engage Viramontes’s writing from multiple perspectives.
As Gabriella Gutiérrez y Muhs points out in her insightful introduction, not only has Viramontes’s work not yet received the broad critical engagement it richly deserves, but there remains a monumental gap in the interpretations of Chicana literature that reach mainstream audiences. Rebozos de Palabras addresses this void by focusing on how the Chicana image has evolved through Viramontes’s body of work. With a foreword by Sonia Saldívar-Hull, this collection addresses Viramontes entire oeuvre through newly produced articles by major literary critics and emerging scholars who engage Viramontes’s writing from multiple perspectives.
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Word Images
New Perspectives on Canícula and Other Works by Norma Elia Cantú
Gabriella Gutiérrez y Muhs
University of Arizona Press, 2017
This collection of critical essays unveils for the first time Norma Elia Cantú’s contribution as a folklorist, writer, scholar, and teacher. Word Images unites two valuable ways to view and use Cantú’s work: Part 1 comprises essays that individually examine Cantú’s oeuvre through critical analysis. Part 2 is dedicated to ideas and techniques to improve the use of this literature by teachers and professors, with a particular focus on tools for using Canícula.
Contributors:
Steven W. Bender
Aurora Chang
Vanessa Fonseca
Gabriella Gutiérrez y Muhs
María Herrera-Sobek
Ellen McCracken
María Esther Quintana Millamoto
Aldo Ulisses Reséndiz Ramírez
Rose Rodríguez-Rabin
Jesús Rosales
Carlos Sibaja García
María Socorro Tabuenca
Juan Velasco
Contributors:
Steven W. Bender
Aurora Chang
Vanessa Fonseca
Gabriella Gutiérrez y Muhs
María Herrera-Sobek
Ellen McCracken
María Esther Quintana Millamoto
Aldo Ulisses Reséndiz Ramírez
Rose Rodríguez-Rabin
Jesús Rosales
Carlos Sibaja García
María Socorro Tabuenca
Juan Velasco
[more]
Hurricanes and Carnivals
Essays by Chicanos, Pochos, Pachucos, Mexicanos, and Expatriates
Lee Gutkind
University of Arizona Press, 2007
“In Mexico,” writes Ilan Stavans in the introduction to this provocative new collection on Mexican culture and politics, “[the essay] is embraced as passionately as a sport.” While the American essay may be personal and confessional or erudite and academic, it is presumed to be truthful. By contrast, the Mexican essay pushes the boundaries between fact and fiction as writers seek to make their opinions heard—in literary journals, in newspapers, and even on cereal boxes. “What is real and what isn’t in a Mexican essay, only God knows,” concludes Stavans. In Hurricanes and Carnivals, Lee Gutkind, a pioneer in the teaching of creative nonfiction, brings together fifteen essays by Mexican, Mexican American, and Latin American writers that push the boundaries of style and form, showing that navigating “truth” is anything but clear-cut. Although creative nonfiction is widely thought to be an American art form, this collection proves otherwise. By blending fact and fiction, story and fantasy, history and mythology, these writers and others push the bounds of the essay to present a vision of Mexico rarely seen from this side of the border. Addressing topics that include immigration, politics, ecology, violence, family, and sexuality, they take literary license on a whirlwind adventure. C. M. Mayo shows us Mexico City as seen through the eyes of her pug, Picadou; Juan Villoro examines modern Mexico through the lens of demography; Homero Aridjis uses the plight of nesting sea turtles to document a slowly changing Mexican attitude toward natural resources; and Sam Quinones documents the decline of beauty-queen addiction in Mazatlán and tells us about the flower festivals where, according to lore, only two things matter: hurricanes and carnivals. For readers interested in a literary view of contemporary Mexico, as well as students of the creative nonfiction genre, this volume is essential
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Contested Ground
Comparative Frontiers on the Northern and Southern Edges of the Spanish Empire
Donna J. Guy
University of Arizona Press, 1998
The Spanish empire in the Americas spanned two continents and a vast diversity of peoples and landscapes. Yet intriguing parallels characterized conquest, colonization, and indigenous resistance along its northern and southern frontiers, from the role played by Jesuit missions in the subjugation of native peoples to the emergence of livestock industries, with their attendant cowboys and gauchos and threats of Indian raids. In this book, nine historians, three anthropologists, and one sociologist compare and contrast these fringes of New Spain between 1500 and 1880, showing that in each region the frontier represented contested ground where different cultures and polities clashed in ways heretofore little understood. The contributors reveal similarities in Indian-white relations, military policy, economic development, and social structure; and they show differences in instances such as the emergence of a major urban center in the south and the activities of rival powers. The authors also show how ecological and historical differences between the northern and southern frontiers produced intellectual differences as well. In North America, the frontier came to be viewed as a land of opportunity and a crucible of democracy; in the south, it was considered a spawning ground of barbarism and despotism. By exploring issues of ethnicity and gender as well as the different facets of indigenous resistance, both violent and nonviolent, these essays point up both the vitality and the volatility of the frontier as a place where power was constantly being contested and negotiated.
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Indigenous Interfaces
Spaces, Technology, and Social Networks in Mexico and Central America
Jennifer Gómez Menjívar
University of Arizona Press, 2019
Cultural preservation, linguistic revitalization, intellectual heritage, and environmental sustainability became central to Indigenous movements in Mexico and Central America after 1992. While the emergence of these issues triggered important conversations, none to date have examined the role that new media has played in accomplishing their objectives.
Indigenous Interfaces provides the first thorough examination of indigeneity at the interface of cyberspace. Correspondingly, it examines the impact of new media on the struggles for self-determination that Indigenous peoples undergo in Mexico and Central America. The volume’s contributors highlight the fresh approaches that Mesoamerica’s Indigenous peoples have given to new media—from YouTubing Maya rock music to hashtagging in Zapotec. Together, they argue that these cyberspatial activities both maintain tradition and ensure its continuity. Without considering the implications of new technologies, Indigenous Interfaces argues, twenty-first-century indigeneity in Mexico and Central America cannot be successfully documented, evaluated, and comprehended.
Indigenous Interfaces rejects the myth that indigeneity and information technology are incompatible through its compelling analysis of the relationships between Indigenous peoples and new media. The volume illustrates how Indigenous peoples are selectively and strategically choosing to interface with cybertechnology, highlights Indigenous interpretations of new media, and brings to center Indigenous communities who are resetting modes of communication and redirecting the flow of information. It convincingly argues that interfacing with traditional technologies simultaneously with new media gives Indigenous peoples an edge on the claim to autonomous and sovereign ways of being Indigenous in the twenty-first century.
Contributors
Arturo Arias
Debra A. Castillo
Gloria Elizabeth Chacón
Adam W. Coon
Emiliana Cruz
Tajëëw Díaz Robles
Mauricio Espinoza
Alicia Ivonne Estrada
Jennifer Gómez Menjívar
Sue P. Haglund
Brook Danielle Lillehaugen
Paul Joseph López Oro
Rita M. Palacios
Gabriela Spears-Rico
Paul Worley
Indigenous Interfaces provides the first thorough examination of indigeneity at the interface of cyberspace. Correspondingly, it examines the impact of new media on the struggles for self-determination that Indigenous peoples undergo in Mexico and Central America. The volume’s contributors highlight the fresh approaches that Mesoamerica’s Indigenous peoples have given to new media—from YouTubing Maya rock music to hashtagging in Zapotec. Together, they argue that these cyberspatial activities both maintain tradition and ensure its continuity. Without considering the implications of new technologies, Indigenous Interfaces argues, twenty-first-century indigeneity in Mexico and Central America cannot be successfully documented, evaluated, and comprehended.
Indigenous Interfaces rejects the myth that indigeneity and information technology are incompatible through its compelling analysis of the relationships between Indigenous peoples and new media. The volume illustrates how Indigenous peoples are selectively and strategically choosing to interface with cybertechnology, highlights Indigenous interpretations of new media, and brings to center Indigenous communities who are resetting modes of communication and redirecting the flow of information. It convincingly argues that interfacing with traditional technologies simultaneously with new media gives Indigenous peoples an edge on the claim to autonomous and sovereign ways of being Indigenous in the twenty-first century.
Contributors
Arturo Arias
Debra A. Castillo
Gloria Elizabeth Chacón
Adam W. Coon
Emiliana Cruz
Tajëëw Díaz Robles
Mauricio Espinoza
Alicia Ivonne Estrada
Jennifer Gómez Menjívar
Sue P. Haglund
Brook Danielle Lillehaugen
Paul Joseph López Oro
Rita M. Palacios
Gabriela Spears-Rico
Paul Worley
[more]
Nuclear Nuevo México
Colonialism and the Effects of the Nuclear Industrial Complex on Nuevomexicanos
Myrriah Gómez
University of Arizona Press, 2022
In the 1940s military and scientific personnel chose the Pajarito Plateau to site Project Y of the secret Manhattan Project, where scientists developed the atomic bomb. Nuevomexicanas/os and Tewa people were forcibly dispossessed from their ranches and sacred land in north-central New Mexico with inequitable or no compensation.
Contrary to previous works that suppress Nuevomexicana/o presence throughout U.S. nuclear history, Nuclear Nuevo México focuses on recovering the voices and stories that have been lost or ignored in the telling of this history. By recuperating these narratives, Myrriah Gómez tells a new story of New Mexico, one in which the nuclear history is not separate from the collective colonial history of Nuevo México but instead demonstrates how earlier eras of settler colonialism laid the foundation for nuclear colonialism in New Mexico.
Gómez examines the experiences of Nuevomexicanas/os who have been impacted by the nuclear industrial complex, both the weapons industry and the commercial industry. Gómez argues that Los Alamos was created as a racist project that targeted poor and working-class Nuevomexicana/o farming families, along with their Pueblo neighbors, to create a nuclear empire. The resulting imperialism has left a legacy of disease and distress throughout New Mexico that continues today.
Contrary to previous works that suppress Nuevomexicana/o presence throughout U.S. nuclear history, Nuclear Nuevo México focuses on recovering the voices and stories that have been lost or ignored in the telling of this history. By recuperating these narratives, Myrriah Gómez tells a new story of New Mexico, one in which the nuclear history is not separate from the collective colonial history of Nuevo México but instead demonstrates how earlier eras of settler colonialism laid the foundation for nuclear colonialism in New Mexico.
Gómez examines the experiences of Nuevomexicanas/os who have been impacted by the nuclear industrial complex, both the weapons industry and the commercial industry. Gómez argues that Los Alamos was created as a racist project that targeted poor and working-class Nuevomexicana/o farming families, along with their Pueblo neighbors, to create a nuclear empire. The resulting imperialism has left a legacy of disease and distress throughout New Mexico that continues today.
[more]
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